The art of music, Vol. 06 (of 14) : $b Choral and church musicCole, Rossetter G. (Rossetter Gleason)
History
The art of music, Vol. 06 (of 14) : $b Choral and church music
Cole, Rossetter G. (Rossetter Gleason)
Music -- History and criticism; Musicians
With his usual fluency Schubert (1797-1828) wrote the first three of
his seven masses in one year (1814) and the finest of these is the one
in G, which is still used in the Roman Church, and of which the _Credo_
is particularly fine. These masses were heard, in Schubert’s time,
only in suburban Vienna churches, as the composer’s prestige was not
sufficient for a larger hearing. Two later masses by Schubert are given
now in concert form--the one in A-flat written in 1822 and the one in
E-flat written in 1828. These works were revived by Herbeck and Brahms
in Vienna and belong without doubt to the very best examples of this
style of writing--in fact, some authorities pronounce them the greatest
works of this mighty genius, excepting only the D minor Quartet.
Unfortunately the parts are not all equally great. The ‘Mass in E-flat’
has a larger instrumental development than the others, the orchestra
often announcing, augmenting, completing, or commenting on the text of
the choral parts, as is the case with Beethoven. Schubert’s tendency in
all his masses was to use themes which approach closely to the form of
the _Lied_ as he conceived it. The _Gloria_ of this mass, as also of
the one in A-flat, is the most magnificent part of the work.
VI
Of the two masses which Beethoven wrote, the first in C major, opus
80, is overshadowed by the second in D major, opus 123. While the
‘C major Mass,’ which was Beethoven’s first large choral work in an
ecclesiastical form, may be lacking in some respects, it is by no means
an unimportant or unworthy composition. Owing to the fact that he
departed from the style of Haydn and Mozart and approached the subject
from an entirely different standpoint, it did not find immediate favor.
Conflicting accounts are given as to the date of first performance
which took place in the chapel of Count Esterhazy, the occasion being
the birthday of the Countess. Kretzschmar gives the date as Sept. 15,
1807, while Grove names Sept. 8, 1807, both agreeing, however, that it
was in honor of the Countess’ birthday.
Public-domain text, read in full here on John Shaqi.
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